On the notion of the political in postmarxist theory.

Screenings

08.12.2011
Samuel Beckett's "Quad II" and "The Ghost Trio"
Repeating, exhausting

07.11.2010
Remembering Kronstadt
Maggots and Men

05.10.2010
Politics, poetics and popular education in Brazilian cinema
'Stronger are the powers of the people' III

04.10.2010
Politics, poetics and popular education in Brazilian cinema
'Stronger are the powers of the people' II

04.03.2010
Fassbinder's own private Nietzsche
Satan's brew

04.02.2010
A comme animal
Abécédaire

01.09.2009
Portray of a precarious survival
Screening Dardenne's Rosetta

09.04.2009
Screening of a film by Claire Denis
The Intruder

06.05.2008
The cool despair of young creatives. Discussion with the filmmaker S. Geene
After effect

06.03.2008
Screening + Discussion with the filmmaker Angela Melitopoulos
The cell - Toni Negri and the prison

04.03.2008
Happiness (1934) by Aleksandr Medvedkin + Cine-Train excerpts (Medvedkin and others)
The body of the worker as paradoxical machine and teaching aid

08.02.2008
Workers' autonomy in the Veneto in the 1960s and 70s
Porto Marghera: the last firebrands

05.02.2008
Politics of montage
Kuhle Wampe

06.12.2007
Video seminar with S. Dillemuth
A visual genealogy of bohemia

05.12.2007
Remembering Fassbinder
Politics of Bohemia

04.12.2007
Adam Curtis' documentary on consumerist subjectivity
The century of the self

30.06.2007
A selection of movies presented by Tsila Hassine
The Israeli-Palestinian conflict

30.05.2007
A movie by Peter Watkins
La Commune. Paris 1871 Part II

29.05.2007
A movie by Peter Watkins
La Commune. Paris 1871 Part I

08.03.2007
Winterbottom and Whitecross's image of exception
Road to Guantanamo

Politics, poetics and popular education in Brazilian cinema
'Stronger are the powers of the people' II

Stronger are the powers of the people is the result of an ongoing research into the political, poetic and educational strategies of political cinema from the 1960s and 1970s, focusing particularly on Brazilian Cinema Novo (New Cinema).

While looking at a cinematography that has become somewhat canonical in Latin American film, it does so from two underexplored angles. Firstly, by placing it into a larger historical narrative that, rather than the usual emphasis on its relation to the military dictatorship in power from 1964 to 1984, looks at its beginnings in the cultural debates and political agitation of the 1959-1962 period, which produced a wealth of experiences in the intersection of art, politics and popular education -- in particular the Popular Centres of Culture (CPC) movement where most of the featured filmmakers cut their teeth. Secondly, by looking at how the aesthetic and political decisions informing what appears on the screen was (or was not) articulated with the overall economy of production and distribution of these films, as well as with concrete strategies for drawing political effects out of them.

Screening of Cinco vezes favela (Five times favela), various, 1962

Cinco vezes favela is the only film the Popular Culture Centre (CPC) brought to completion. It comprises five episodes directed by Miguel Borges, Joaquim Pedro de Andrade, Caca Diegues, Marcos Farias and Leon Hirszman, and was responsible for a split between the CPC and the Cinema Novo group. Some of the key figures in the CPC reportedly considered the film both a commercial and a political flop, and filmmakers such as Diegues and Arnaldo Jabor (though not Hirszman) left after decrying a narrow, instrumental conception of the relation between aesthetics and politics. With a cast including many of Augusto Boal’s colleagues from Teatro de Arena (and, most notably, CPC founder Oduvaldo Viana Filho), it captures a group of young filmmakers grappling with the same problems – How to create a form adequate to the specificity of Brazilian content? How to do so in a way that reaches beyond a middle-class audience, and plays a role in the transformation of Brazilian society from below? What is popular culture, and how must the artist deal with it? – While working through a host of influences, from Russian revolutionary cinema to neo-realism. Joaquim Pedro de Andrade’s Couro de gato (Catgut) was included in a list of the 100 best shorts of all times selected by the Clermont-Ferrand Festival.

Rodrigo Nunes is a philosopher, activist, translator and curator with a PhD from Goldsmiths College, University of London, where he wrote a thesis on immanence and philosophy in Deleuze and Foucault. His texts have appeared in such publications as Radical Philosophy, ephemera, Mute, Transversal and Deleuze Studies (forthcoming). He has participated, as an organiser and popular educator, in various political initiatives in Latin America and in Europe, including the first three editions of the World Social Forum (Porto Alegre, Brazil) and the Cleaners for Justice campaign (London, UK). At present, he is an associate researcher at PUCRS, Porto Alegre, Brazil and an editor of Turbulence (www.turbulence.org.uk).